(1895–1) France@

Louis Lumière was a French engineer and industrialist who played a key role in the development of photography and cinema. His parents were Antoine Lumière, a photographer and painter, and Jeanne Joséphine Costille Lumière, who were married in 1861 and moved to Besançon, setting up a small photographic portrait studio. Here were born Auguste Lumière, Louis and their daughter Jeanne. They moved to Lyon in 1870, where their two other daughters were born: Mélina and Francine. Auguste and Louis both attended La Martiniere, the largest technical school in Lyon. At age 17, Louis invented a new process for film development using a dry plate. This process was significantly successful for the family business, permitting the opening of a new factory with an eventual production of 15 million plates per year. In 1894, his father, Antoine Lumière, attended an exhibition of Edison's Kinetoscope in Paris. Upon his return to Lyon, he showed his sons a length of film he had received from one of Edison's concessionaires; he also told them they should try to develop a cheaper alternative to the peephole film-viewing device and its bulky camera counterpart, the Kinetograph. This inspired brothers Auguste and Louis to work on a way to project film onto a screen, where many people could view it at the same time. By early 1895 they invented a device which they called the Cinématographe, a three-in-one device that could record, develop, and project motion pictures, and patented it on 13 February 1895. Their screening of a single film, Leaving the Factory (1895), on 22 March 1895 for around 200 members of the Society for the Development of the National Industry in Paris was probably the first presentation of projected film. Their first commercial public screening at Salon Indien du Grand Café in Paris on 28 December 1895 for around 40 paying visitors and invited relations has traditionally been regarded as the birth of cinema. The cinematographe was an immediate hit, and its influence was colossal. Within just two years, the Lumière catalogue included well over a thousand films, all of them single-shot efforts running under a minute, and many photographed by cameramen sent to various exotic locations. The Lumière brothers saw film as a novelty and had withdrawn from the film business by 1905. The Lumière freres' cinematographer was not their only invention. Mainly Louis is also credited with the birth of color photograph, the Autochromes, using a single exposure trichromic basis (instead of a long three-step exposure): a glass plaque is varnished and embedded with potato starch tinted in the three basic colors (rouge-orange, green and violet-blue), vegetal coal dust to fill the interstices and a black-and-white photographic emulsion layer to capture light. They were the main and more successful procedure for obtaining color photographs from 1903 to 1935, when Kodachrome, then Agfacolor and other less fragile film based procedures took over. An Autochrome is positivated from the same plaque, so they are unique images with a soft toned palette. As the Institut Lumière describes them, they are a middle point between photography and painting (akin specially to pointillism technique), because of their pastel shades and easy but still static pose looks.

Auguste Lumière was a French engineer, industrialist, biologist, and illusionist, born in Besançon, France. He attended the Martinière Technical School and worked as a manager at the photographic company of his father, Antoine Lumière. Although it is his brother Louis Lumière who is generally acclaimed as the "father of the cinema", Auguste also made a major contribution towards the development of the medium, first by helping with the invention and construction of the cinematographe (the world's first camera and projection mechanism), and second by appearing as a subject in many of the films shot by Louis. Along with his brother, he is also credited with giving the world's first public film screening on December 28, 1895. However, according to Louis, Auguste lost interest in the cinematographe as soon as construction had been completed, and thereafter showed no further interest in the film medium. After his work on the cinematograph he began focusing on the biomedical field, becoming a pioneer in the use of X-rays to examine fractures. He also contributed to innovations in military aircraft, producing a catalytic heater to allow cold-weather engine starts.

Léon Gaumont was born on 10 May 1864 in Paris, France. He was a producer and editor, known for The First Men in the Moon (1919), Images de Chine (1905) and La nuit de noces de Calino (1911). He was married to Camille Maillard. He died on 10 August 1946 in Sainte-Maxime, Var, France.

The world's first female filmmaker, French-born Alice Guy entered the film business in 1896 as a secretary at Gaumont, a manufacturer of movie cameras and projectors who had purchased a "cinématographe" from its inventors, the Lumiere brothers. The next year Gaumont became the world's first motion picture production company when they switched to creating movies, and Guy became its first film director. She impressed the company so much with the output (she averaged two two-reelers a week) and quality of her productions that by 1905 she was made the company's production director, supervising its other directors. In 1907 she married Herbert Blaché, an Englishman who ran Gaumont's British and German offices. The pair went to the U.S. to set up the company's operations there. In 1910 Mme. Guy set up her own production company, Solax, in New York and with her husband built a studio in Fort Lee, New Jersey. After a period of critical and financial success, the couple's fortunes declined when Thomas Alva Edison's trust hindered film production in the East coast, and they eventually shut down the studio in 1919. Although her husband secured work directing films for several major Hollywood studios, Guy was never able to secure any directorial jobs there, never made a film again, most of her films were lost, some were credited to other film directors, and she did no receive recognition for her pioneering work in France and the United States. She returned to France in 1922 after her divorce from Blaché, and in 1964 returned to the U.S. and lived in Mahwah, New Jersey - not far from where her original studios were - with her daughter, where she died in 1968.

Charles Pathé was born on 25 December 1863 in Chevry-Cossigny, Seine-et-Marne, France. He was a producer and director, known for Arrivée d'un train (1896), J'accuse! (1919) and Débarquement d'un bateau (1896). He was married to Marie Foy. He died on 25 December 1957 in Monte Carlo, Monaco.

Was a cafe concert entertainer before Charles Pathe noticed him during the Universal Exhibition, where Zecca had been assigned to Pathe's stand. After a few daysPathe asked Zecca if he would like to work in cinematography. Zecca immediately accepted the offer and rapidly became Pathe's right hand man and head of production.

Georges Méliès was a French illusionist and film director famous for leading many technical and narrative developments in the earliest days of cinema.

Méliès was an especially prolific innovator in the use of special effects, popularizing such techniques as substitution splices, multiple exposures, time-lapse photography, dissolves, and hand-painted color.

His films include A Trip to the Moon (1902) and An Impossible Voyage (1904), both involving strange, surreal journeys somewhat in the style of Jules Verne, and are considered among the most important early science fiction films.

Méliès died of cancer on 21 January 1938 at the age of 76.

In 2016, a Méliès film long thought lost, A Wager Between Two Magicians, or, Jealous of Myself (1904), was discovered in a Czechoslovak film archive.

Along with his better-known French counterpart Georges Méliès George Albert Smith was one of the first filmmakers to explore fictional and fantastic themes, often using surprisingly sophisticated special effects. His background was ideal--an established portrait photographer, he also had a long-standing interest in show business, running a tourist attraction in his native Brighton featuring a fortune teller. His films were among the first to feature such innovations as superimposition (Smith patented a double-exposure system in 1897), close-ups and scene transitions involving wipes and focus pulls. He also patented Kinemacolor--the world's first commercial cinema color system--in 1906, which was extremely successful for a time, despite the special equipment required to project it

Eugène Lauste was born on 17 January 1857 in Montmartre, Paris, France. He was a director, known for Bullfight (1896) and Drill of the Engineer Corps (1896). He died on 27 June 1935 in Montclair, New Jersey, USA.

Félix Mayol (1872-1941) was a popular French singer of the Belle Epoque. Born in Toulon, he had modest debuts on the stages of Toulon and Marseille but became a success in Paris in 1895 as a singer performing in a campy, effeminate way. An anecdote published in his memoirs reports that for lack of finding a camellia, that the elegant men wore at the time on the revers of their frock coat, he took a bit of lily of the valley which became his emblem. The improbable hair tassel he wore (and which gave him the nickname of "the red-toupeed artist" or "flame of punch") became so famous that it inspired many imitators. He knew his first great success in 1896 with La Paimpolaise by Théodore Botrel. In 1900, after a brief stint at the Eldorado where he sang À la cabane bambou, he was engaged by La Scala. It was there that he created the title that would make him both rich and famous: Viens, poupoule! (1902), an adaptation of a German song arranged by Henri Christiné and Alexandre Trébitsch. He returned in 1905 with La Matchiche, the adaptation of a fashionable Spanish dance song. The same year, he performed at Gaumont in 14 phonoscènes under the direction of Alice Guy, such as La Paimpolaise. These were short sound films using a sound on disc system. Several still exist. Already, Mayol had to his credit many recordings on cylinders and on discs.

In 1907, Mayol's operetta Cinderella at La Scala did not convince, unlike one of the show's songs, Les Mains de femmes which became a success, followed in 1908 by Cousine. His cachet then reached the sum of a thousand gold francs, which allowed him to buy in 1910 the Paris cabaret Concert which hence took his name, the Concert Mayol. He was the main star of the shows, and in turn launched young artists, including Valentin Sardou (father of Fernand and grandfather of Michel Sardou), Maurice Chevalier, Émile Audiffred and Raimu. In 1914 he passed the scepter to Oscar Dufrenne. He then began a tour of the whole of France and the French-speaking countries with his Baret tours. His fame was such that even Charlie Chaplin came to listen. The period 1914-1918 was marked, as for many artists, by many anti-German songs, intended to maintain the morale of the troops, but Mayol's career stalled after the First World War. He published his Souvenirs in 1929, made "seven farewell shows to the Paris public" in 1938 and retired to Toulon.

Attached to his hometown Toulon and particularly his rugby club, he offered 60,000 gold francs to finance the construction of a stadium that still bears his name at the moment, the stadium Mayol. The lily of the valley he loved became the emblem of the club and the sumptuous dinner he gave players to celebrate the title of 1931 has remained in the annals. The traditional lily of the buttonhole was artificial because he could not bear the scent. Mayol's supposed or real homosexuality, linked to his celibacy and his "effeminate stage play", made Mayol a target of journalists. At the time, songwriters and other writers often referred to it, such as the marriage between Mayol and Mistinguett invented from scratch, resulting in a lot of laughter. Until now, no published direct testimony, with the exception of one, has been known in which the artist has openly evoked his sexual preferences. In his songs, often very gritty, Mayol employs most of the time the "we" of the male collective. These songs portray prostitutes or women always welcoming to the sexual encounter. According to his Memories, Mayol created almost 500 songs. The French Wikipedia lists some 120 songs, based on the website Gallica and other sources. After the 1905 phonoscènes series at Gaumont, Mayol acted in five more films, three silent films, including Le filon du Bouif (Louis Osmont, 1922), and two early sound films, Aux urnes, citoyens!/Tu sera député (Jean Hémard, 1932) and La dame de chez Maxim's (Alexander Korda, 1933) starring Florelle.

Segundo de Chomón became involved in film through his wife, who was an actress in Pathé films. In 1902 he became a concessionary for Pathé in Barcelona, distributing its product in Spanish-speaking countries and managing a factory for the coloring of Pathé films. He began shooting footage of Spanish locations for the company, then in 1905 moved to Paris where he became a trick film specialist. The body of work he created over five years was outstanding. Films such as The Red Spectre (1907), Kiri-Kis (1907), The Invisible Thief (1909) and A Panicky Picnic (1909) are among the most imaginative and technically accomplished of their age.

De Chomón created fantastical narratives embellished with ingenious effects, gorgeous color, innovative hand-drawn and puppet animation, tricks of the eye that surprise and delight, and startling turns of surreal imagination. It is curious why he is not generally known as one of the early cinema masters, except among the cognoscenti in the field. Perhaps it is because there is a smaller body of work than that created by Georges Méliès (his works can perhaps be described as a cross between that of Méliès and another who combined trickery with animation, Émile Cohl); perhaps it's because he was a Spaniard working in France for the key part of his film career that has meant that neither side has championed him as much as they might have done. De Chomón carried on as a filmmaker, specializing in trick effects, working for Pathé, Itala and others, and contributing effects work to two of the most notable films of the silent era, Giovanni Pastrone's Cabiria (1914) and Abel Gance's Napoleon (1927).

Albert Dieudonné was born on 26 November 1889 in Paris, France. He was an actor and writer, known for Son crime (1921), Gloire rouge (1923) and Sous la griffe (1917). He died on 19 March 1976 in Boulogne-Billancourt, Hauts-de-Seine, France.

Composer chiefly remembered for his symphonic poems -the first of that genre to be written by a Frenchman- and for his opera 'Samson et Dalila'. Notable for his pioneering efforts on behalf of French music, he was also a gifted pianist and organist, and a writer of criticism, poetry, essays, and plays. Of his concerti and symphonies, in which he adapted the virtuosity of Franz Liszt's style to French traditions of harmony and form, his 'Third Symphony' is most often performed.

Albert Capellani was born on 23 August 1874 in Paris, France. He was a director and writer, known for Oh Boy! (1919), The Virtuous Model (1919) and The Easiest Way (1917). He died on 26 September 1931 in Paris, France.

Émile Zola was born on April 2, 1840, in Paris, France. His father was an Italian engineer. Young Zola studied at the Collége Bourbon in Provence, where his schoolmate and friend was Paul Cezanne. In 1858 Zola returned to Paris and became a student at the Lycée Saint-Louis, from which he graduated in 1862. After working at clerical jobs, he began to write a literary column for a Parisian newspaper. Zola's main literary work was "Les Rougon-Macquart", a monumental cycle of twenty novels about Parisian society during the French Second Empire under Napoleon III and after the Franco-Prussian War.

Zola was the founder of the Naturalist movement in 19th-century literature. His medicinal approach in scrupulous description of the lives of ordinary people was based on the contemporary theory of hereditary determinism, which he used to demonstrate how genetic and environmental factors influence human behavior. His most notable novels, "L'assommoir" (1877), "Nana" (1880) and "Germinal" (1885), displayed Zola's concerns of both scientific and artistic nature, as well as his stances on social reform. His life in the Parisian intellectual elite was that of a statesman and a bon vivant. He lived in a villa in Medan on the Seine and had a home in Paris. He was a political apprentice and follower of Victor Hugo in his stand against the corrupt monarchy of Napoleon III. Zola was among the strongest proponents of the Third Republic and was elected to the Legion of Honour. At the same time he was an important figure in the Parisian cultural milieu. He entered a circle of realist writers such as Edmond de Goncourt, Alphonse Daudet, Ivan Turgenev and Gustave Flaubert, his literary mentor and a close friend. After his novels brought him critical and financial success, Zola himself became surrounded by such followers as Guy de Maupassant and Paul Alexis, among others.

Zola shook the Parisian art world with his novel "L'Oevre" ("The Masterpiece") in 1886. Its protagonist, named Claude Lantier, was actually an amalgam of several artists including Paul Cezanne, Edouard Manet and Claude Monet. Zola also portrayed himself and his friend and mentor Gustave Flaubert. However, the personality and artistic career of painter Paul Cezanne was shown with a closer resemblance, especially when it came to intimate personal characteristics. Zola and Cezanne were schoolmates and close friends from childhood, which gave the writer a wealth of material for the novel. Cezanne's reticent personality, his self-doubt, his artistic anxieties and his more hidden sexual anxieties all came out in Zola's narrative. He revealed Cezanne's "passion for the physical beauty of women, and insane love for nudity desired but never possessed", his almost misogynistic perception of the "satanic female beauty", which affected his sexuality, and sublimated in his brush-strokes that he laid on his paintings. He showed Cezanne's work on his numerous sketches of nudes and impressionistic bathers as an outlet to artist's masculinity. He also hinted on Cezanne's countless depictions of apples as a sublimation and displacement of the artist's erotic interests. Zola used Cezanne's inner struggles of artistic and sexual nature and the interdependence of his sexual and artistic anxiety, to show some intricate parts of an eternal conundrum where lies one of the mysterious sources of creativity. In Zola's novel the artist fails to depict a perfectly beautiful nude, his wife has a baby that has a disfigured head and dies, then artist presents a painting of his dead child to the Salon, then artist commits suicide. In real life Cezanne, as a highly sensitive and refined individual, took Zola's novel too personally. The book ended their life-long friendship. Even the wise and friendly comments by Claude Monet and Camille Pisarro failed to help their reconciliation. Zola's powerful literary image had formed a lasting perception of Cezanne among his fellow artists, as well as among critics and public. Cezanne fled from the Parisian art world into a self-imposed isolation.

Zola risked his career in February of 1898, when he defended army Capt. Alfred Dreyfus, a Jewish officer who was wrongfully convicted and imprisoned for treason. Zola accused the French government of anti-Semitism in an open letter to François Félix Faure, the President of France. Zola's "J'Accuse" was published on the front page of the Paris daily "L'Aurore". Zola declared that Dreyfus' conviction was based on false accusations and forged "evidence" of espionage, which the court that convicted him knew was false, and was a misrepresentation of justice. Zola was brought to trial for libel for publishing "L'Accuse" and was convicted two weeks later, sentenced to jail, and removed from the Legion of Honour. Zola managed to escape to England. He returned during the collapse of the government and continued defending Dreyfus, who was imprisoned on the hellish penal colony in South America called Devil's Island. France became deeply divided by the case, known as the Dreyfus affair. Zola stood together with the more liberal commercial society opposite the reactionary army and Catholic church. Zola's open letter formed a major turning point in the Dreyfus affair. The case was reopened and Dreyfus was acquitted, then convicted again, but ultimately freed and completely exonerated by the French Supreme Court.

Zola's strange and tragic death from carbon monoxide poisoning was caused by a stopped chimney and remained an unresolved mystery. His enemies were blamed, but nothing was proved. He died on September 29, 1902, in Paris, and was initially laid to rest in the Cimetiere de Montmartre in Paris. On June 4, 1908, Zola's remains were laid to rest in the Pantheon in Paris, France.

A prolific director--over 700 films, most of them short- or medium-length--Louis Feuillade began his career with Gaumont where, as well as directing his own features, he was appointed artistic director in charge of production in 1907. His work was largely comprised of film series; his first series, begun in 1910 and numbering 15 episodes, was 'Le Film Esthétique', a financially unsuccessful attempt at "high-brow" cinema. More popular was La vie telle qu'elle est (1911), which moved from the costume pageantry of his earlier work to a more realistic--if somewhat melodramatic--depiction of contemporary life. Feuillade also directed scores of short films featuring the characters Bébé and René Poyen. His most successful feature-length serials were Fantômas: In the Shadow of the Guillotine (1913), which chronicled the diabolical exploits of the "emperor of crime," and Les Vampires (1915), which trailed a criminal gang led by Irma Vep (Musidora) and was noted for its imaginative use of locations and lyrical, almost surreal style.

This celebrated star of the French stage had a sporadic love-hate affair with early cinema. After her film debut in Hamlet, Duel Scene with Laertes (1900) she declared she detested the medium; yet she consented to appear in another film, La Tosca (1909). Upon seeing the results, she reportedly recoiled in horror, demanding that the negative be destroyed. Her next film appearance, in the Film d'Art production of La dame aux camélias (1912), was a critical and popular success, helping give cinema artistic dignity. The following year she made Les amours de la reine Élisabeth (1912) in Britain. The receipts from this film's distribution in the US provided Adolph Zukor with the funds to found Paramount. Bernhardt, at 69, was offered a fortune to make films with other companies, but stayed with Film d'Art, appearing in Adrienne Lecouvreur (1913). She appeared in two more pictures after losing a leg in 1915, Jeanne Doré (1915) and Mothers of France (1917), both produced as WWI morale boosters. In 1923, when she was 79, her hotel room was turned into a studio so that she could appear in the film La voyante (1924). But her failing health halted production and she died before the film was completed. She was portrayed on the screen by Glenda Jackson in The Incredible Sarah (1976).

Although all too frequently neglected by fans of silent comedy, Max Linder is in many ways as important a figure as Charles Chaplin, Buster Keaton or Harold Lloyd, not least because he predated (and influenced) them all by several years and was largely responsible for the creation of the classic style of silent slapstick comedy.

Linder started out as an actor in the French theatre, but after making his screen debut in 1905 he quickly became an enormously famous and successful film comedian on both sides of the Atlantic, thanks to his character "Max," a top-hatted dandy. By 1912 he was the highest-paid film star in the world, with an unprecedented salary of one million francs. He began to direct films in 1911 and showed equal facility behind the camera, but his career suffered an almost terminal blow when he was drafted into the French army to fight in World War I. He was gassed, and the illness that resulted would blight his career. Although offered a contract in America, recurring ill health meant that his US films had little of the sparkle of his early French work, and a brief attempt to revive his career by making films for the recently-formed United Artists (one of whose founders, of course, was Chaplin) in the early 1920s came to little, although these later films are now regarded as classics. He returned to France and killed himself in a suicide pact with his wife in 1925.

Although Hugo was fascinated by poems from childhood on, he spent some time at the polytechnic university of Paris until he dedicated all his work to literature. He was one of the few authors who were allowed to reach popularity during his own lifetime and one of the leaders of French romance.

After the death of his daughter Leopoldine in 1843, he started a career in politics and became member of the Paris chamber where he fought for leftist ideas. After the re-establishing of monarchy, he had to go into exile to Guernesey (1851-1870) where his literary work became more important, e.g. "Les Miserables" was written during that period. After his return to Paris he did not join politics anymore.

Léonce Perret was born on 13 March 1880 in Niort, Deux-Sèvres, France. He was a director and actor, known for The Child of Paris (1913), The A.B.C. of Love (1919) and Léonce et les écrevisses (1913). He was married to Valentine Petit. He died on 12 August 1935 in Paris, France.

René Poyen was born on 5 October 1908 in Paris, France. He was an actor, known for Pierrot, Pierrette (1924), Judex (1916) and Judex: Prologue + L'ombre mystérieuse (1917). He died on 4 February 1968 in Paris, France.

Jacques Feyder was born on 21 July 1885 in Ixelles, Brabant, Belgium. He was a director and writer, known for Le grand jeu (1934), Carnival in Flanders (1935) and Fahrendes Volk (1938). He was married to Françoise Rosay. He died on 24 May 1948 in Rive-de-Prangins, Switzerland.

Alfred Machin started his film work as camera man for Pathe at the beginning of 20 Century. During 1907 and 1909 he was in Africa, shooting documentary shorts. In 1910 he worked at the Pathe studio in Nizza, in 1911 he was one of the founding directors of the Pathe-filiale in Amsterdam, in 1913 he was the same in Brussel. In 1913/14 he made the pazifistic Maudite Soit la Guerre, which was released two months before the outbreak of WW I. In 1921 he purchased the Pathe studio in Nizza, founded his own production company and made nine pictures, before he died in 1929.

Germaine Rouer was born on 2 November 1897 in Paris, France. She was an actress, known for Ladies' Paradise (1930), Roger la Honte (1933) and Les Vampires (1915). She died on 26 December 1994 in Paris, France.

Oscar-Claude Monet was born on November 14, 1840, in Paris, France. His father, named Adolphe Monet, was a grocer. His mother, named Louise-Justine Monet, was a singer. Young Monet grew up in Le Havre, Normandy. There he developed a reputation for the caricatures he loved to draw. He studied drawing with Jean-Francois Ochard, an apprentice of Jacques-Louis David. Then he studied painting 'en plein air' with marine painter 'Eugene Boudin'. After having served in the French Army in Algeria for two years, Monet was decommissioned after contracting a typhoid. In 1862, in Paris he joined the studio of Charles Gleyre, where he met Alfred Sisley, Frederic Bazille, and Pierre-Auguste Renoir.

In 1865 Monet submitted his painting to the official Salon for the first time. His 'Le dejeuner sur l'uerbe' (The Picnic 1865), depicting his lady friend Camille Doncieux and artist Bazille, was gently criticized by Courbet; Monet modified the painting, then, still unsatisfied, dismissed it from the show. In 1866, he painted Camille Doncieux as 'Camille, ou la femme a la robe verte' (Woman in the green Dress), and in 1867, she bore their first child, named Jean. Monet's paintings were treated as inferior at the Salon shows. In 1868 he made a suicide attempt. With the modest financial support from Frederic Bazille, Monet survived the first attack of depression. In 1870 he married Camille Doncieux and they settled in Argenteul. There he painted from a boat on the Seine River, capturing his impressions of the interplay of light, water and atmosphere.

Claude Monet became enthusiastic over the London landscapes, when he took refuge in England, to avoid the Franco-German War of 1870-1871. In London he was joined by his friend Camille Pissarro and the two artists continued painting landscapes. At that time Monet became interested in the paintings of William Turner in London museums. Turner's influence on Monet remained noticeable, especially in some later more vivdly chromatic paintings of the Thames, which he made during his visits to London in the 1890's and 1900's. In 1899, in London, Monet painted the river Thames in the series of paintings of the Houses of Parliament with the reflections of light in the river and fog. Then Monet said, "Without the fog, London would not be a beautiful city."

Monet's painting 'Impression, soleil levant' (Impression, Sunrise 1872) was untitled until the first show in 1874, in the Paris studio of photographer Nadar. A title was needed in a hurry for the catalogue. Monet suggested simply 'Impression'. The catalogue editor, Renoir's brother Edouard, added an explanatory 'Sunrise'. From the painting's title, art critic Louis leroy coined the term "Impressionism", which he intended to be derogatory. Monet's title came under criticism which seized upon the first word. Monet with Pierre-Auguste Renoir, Camille Pissarro, Alfred Sisley, were joined by Edgar Degas, and continued to exhibit together despite the financial failure of the first show.

Impressionists slowly gained recognition after 1880, when public begun to recognize the value of their works. In 1883 Monet was able to rent a house in Giverny, in Haute-Normandie. In 1890 Monet bought the house and expanded the garden into a beautifully landscaped park with a pond. There he painted many landscapes, and his water lily pond became the favorite subject of his paintings during the next 40 years of his life. Monet outlived his second wife and first son Jean. He suffered from cataracts, which affected his vision so that his later paintings had a general reddish tone. After two cataract surgeries in 1923, Monet even repainted some of the reddish paintings. He died on December 5, 1926, and was laid to rest at the Giverny church cemetery.

"My king is the sun, my republic is water, my people are flowers and leaves," said Claude Monet. He was the first artist to present his initial impressions as completed works. In 2004, his London painting 'Le Parlement, Effet de Brouillard' (The Parliament, Effects of Sun in the Fog. 1904), sold for over $20,000,000.